Alas de mariposa

An excellent film by Basque director Juanma Bajo Ulloa. It is a film in which he presents the reality of the Basque Country as the `unwanted child' within a family. The daughter, Ami represents the Basque Country in the movie, the father represents France, and the mother represents Spain. The film also brings the audience to the discovery that the explosion of violence on the part of Ami is no more than an answer to the lack of love that she has from her parents. The father wants to be affectionate, but he just gives her the trinkets that he finds in the street, while the mother just rejects her because she has another son whom she prefers. The rejection of Ami's family also can be seen when Ami needs them and she called them requesting aid, but in first instance her mother does not put care to her call, and in another one, his father did not run enough to be able to help her.

Although we live under the premise that equality between men and women has consistently improved over the past three decades, the potent film "Alas de mariposa" ("Wings of the Butterfly") presents a startling contrast to this notion. Set in the Basque region of Spain, the director Juanma Bajo Ulloa portrays a modern family in the 1990's who is consumed with the obsession to have a son to carry on the family name. Ironically, it is the mother, Carmen, who is determined to continue the patriarchal dominance rather than the submissive father, Gabriel, as a result of living under the shadow of her father's resentment. While focusing on the repression of the feminine identity and the subsequent violence that is imposed upon the young daughter Ami, the spectator can draw parallels to the repression of the Basque independence and identity in the Northeast section of Spain.

While using revealing chiaroscuro lighting, "Alas de mariposa" contains various symbolic scenes that augment the patriarchal ideology through closed frames which denote the trapped family. The opening scene of the movie summarizes the rejection of the female throughout the film when the grandfather refuses to accept the birth of his granddaughter. Preceding scenes of the storm, ruination of the family painting that Ami draws, Carmen's rejection of Ami during her pregnancy and even the egg that breaks during the parallel montage of Ami's fall represents the broken possibility of life. The only moments in which Ami, the daughter, feels free and uninhibited is through the creation of her art, yet ironically the only time she can draw the butterfly wings is between the death of her grandfather and the birth of her little brother. The butterfly wings seem to symbolize her momentary freedom and liberty, while the skeletal frame represents her lack of freedom.

The vicious ideological circle in "Alas de mariposa" slowly rotates around the father's idealist attitude, the mother's forceful dominance, the daughter's rejection, the pregnancies and hurtful actions. The entire film encourages the viewer to evaluate the remaining patriarchal holds still remnant in society. "Alas de mariposa" is a compelling movie that questions the force of ideologies, portrays the victims and offenders of these philosophies, and the effect that they have on freedom and liberty. It is an eye-opening movie that challenges the audience with the re-examination of creeds that society imposes on the individual as well as the group.

The Basque film director, Juanma Bajo Ulloa, is a difficult person to come to terms with. Doubly so, as I have had the bad luck of seeing his films in reverse order. After a hilarious but rather senseless `Airbag' (qv), I was greatly attracted by the sombre, almost poetic `La Madre Muerta' (qv), and finally have managed to see `Alas de Mariposa', mostly because my attention fell on Silvia Munt as lead actress. The fact that Fernando Valverde is playing opposite her, also helped. What I did not expect is that both girls playing the younger Amy (Laura Vaquero) and the adolescent Amy (Susana García), would steal the show from them. With intelligent patience, especially with Laura Vaquero, Bajo Ulloa achieves some memorable scenes.

Greatly aided by some extremely delicate photography playing with natural light so as to achieve a `claro-oscuro' result which is almost as if it were filmed in black and white. Bingen Mendizábal's dark music lends itself appropriately to the film's development, being almost textural in its sombreness.

For the story is grim: a harsh tragedy, at times verging on brutal pathos.

Footnotes:

1) For Spanish learners this film should not be too difficult as the dialogues are fairly easy to follow as the accents are neutral, though there are some softly-spoken parts at times.

2) In no way should under 18s be allowed to watch this film. I hate to be a censor, but the content of this film makes such a statement rather obligatory. If it were simply a case of explicit sex-scenes – there aren't any – I would say nothing.

I am with some other reviews who say in this movie there are two different part. The first, when she was a little kid, and the second, she as a teen. The first half, the star as a kid is awesome, nothing more, nothing less. Perfect length too. The aesthetic, blue tone, somber tale and perfect cast in this disturbing and sad story combine to produce one of the Spanish cinema peaks in the 90's. The other half, it's not bad as many people said, but with any trace of doubt the quality drops a lot. Annoying new characters, the loss of the atmosphere because the movie escapes to reality from that isolated world tale from the first half. Movie changed. Great technical work, good music and casting (specially the two girls who has disappeared from the scene inexplicably).

Alas de Mariposa is a tragic film that deals with the hardships of a little girl, Amanda, and the struggle to identify and relate to her parents. After a terrible tragedy, Amanda must cope with the consequences and piece together her life in order to survive the rejection of her mother and grandfather, and hold on to the weak connection to her father.